Oxford Handbook of Music Psychology (Oxford Library of Psychology) Hardcover – 4 Dec 2008
Customers Who Bought This Item Also Bought
Enter your mobile number below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
Getting the download link through email is temporarily not available. Please check back later.
To get the free app, enter your mobile phone number.
The Oxford Handbook of Music Psychology is broad in conception, clear in purpose, thorough in coverage of all relevant areas, and excellent in style and presentation...[it] is to be recommended without hesitation. (Classical Net Review)
About the Author
Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences. Ian Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language. Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical Neuromusicology.
What Other Items Do Customers Buy After Viewing This Item?
Top Customer Reviews
Perhaps a better title for this book would have been "..... Handbook of the Cognitive-Neurological Psychology of Music", for that is what this collection of articles is about. Not all psychology is just about brain-body functioning. Even as a practising child psychologist, I found this book a very hard read. While the book is undoubtedly authoritative, I feel it fails on two particular counts: its very dry academic language, which tends to lose the reader in such an overview tome, and its superficiality when discussing very complex concepts or constructs - such as the phylogeny and ontogeny of music at the prenatal stages, as but one such example amongst many. Another area of failure is its vain attempt to explain music psychology as a social psychological phenomenon. The language is altogether inappropriate, for to explain social phenomena one should use socially communicative language.
I feel the tome lacks a clear direction except to propagate clinical/cognitive literature that explains "within-person" functioning. So, if you are interested in how music influences relationships, group dynamics and identities, purchasing behaviour, work behaviour, learning (eg the oft-quoted but recently challenged "Mozart Effect"), healing/health promotion, "flow effect", "peak experience" and other such phenomenologies (ie music psychology in social context), then this volume is definitely not for you. If you are a psychology graduate who may be interested more in the clinical-cognitive-psycho-neurobiological functioning of human beings, then this would be a good introduction for you.Read more ›
this is for music or music psycholofy students and possibly academics.
Look for similar items by category
- Books > Education Studies & Teaching > Education Management & Organisation > Educational Psychology
- Books > Education Studies & Teaching > School Education & Teaching > Child & Developmental Psychology
- Books > Health, Family & Lifestyle > Psychology & Psychiatry > Reference
- Books > Health, Family & Lifestyle > Psychology & Psychiatry > Social & Developmental Psychology > Child & Developmental
- Books > Music, Stage & Screen > Music > Musical Theory & Composition > Musical Theory
- Books > Reference > Language
- Books > Science & Nature > Reference > Psychology & Psychiatry